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FROM NEO-TRADITIONALISM to “NEW REALISM” Accepted: 10 July 2018 UDK 821.161.1(091)”19/20”:316.7

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FROM NEO-TRADITIONALISM to “NEW REALISM” Accepted: 10 July 2018 UDK 821.161.1(091)”19/20”:316.7 “Umjetnost riječi” LXII (2018) • 3–4 • Zagreb • October – December RESEARCH PAPER Natalia K O V T U N (Krasnoyarsk State Pedagogical University named after V. P. Astafyev) [email protected] Natalya K L I M O V I C H (Siberian Federal University) [email protected] THE TRADITIONALIST DISCOURSE OF CONTEMPORARY RUSSIAN LITERATURE: FROM NEO-TRADITIONALISM TO “NEW REALISM” Accepted: 10 July 2018 UDK 821.161.1(091)”19/20”:316.7 The article analyses modern traditionalism and its main directions (classical traditionalism, neo-traditionalism and new realism). This 315 analysis encompasses the reasons for a returning interest to the realistic principles of writing, and the dialogues between traditionalism and the avant-garde and the cosmos and chaos as key to the development of culture as a whole. It highlights the ways in which current literary studies and criticism reflect the shift of the cultural paradigm and the transition from the poetics of postmodernism to the realistic principles of writing, while preserving elements of postmodern aesthetics. Particular attention is paid to the increasingly controversial direction of “new realism”, which is represented by two key areas: patriotic and naturalistic. The “new realism” authors actively form their own mythology, participating in politics, and trying to reconcile Soviet and anti-Soviet discourses. They search for “avant-gardism in conservatism”, where conservatism is a treasury of Russian classic images, and avant- gardism is the innovations that reflect the current public realia. The article provides a detailed analysis of the literary work of Siberian author Mikhail Tarkovsky. Tarkovsky’s work combines elements of the poetics of “classical traditionalism” and “new realism” to present an original geopolitical project and a cultural character capable of bringing the country to a new level of civilisation. Keywords: contemporary Russian prose, postmodernism, “classical traditionalism”, neo-traditionalism, “new realism”, geopolitical project, Zakhar Prilepin, Roman Senchin, Mikhail Tarkovsky N. Kovtun, N. Klimovich, The Traditionalist Discourse of Contemporary Russian Literature: ... (315–337) “Umjetnost riječi” LXII (2018) • 3–4 • Zagreb • October – December BREAKING THE CULTURAL PARADIGM AT THE TURN OF THE TWENTIETH AND TWENTY-FIRST CENTURIES: TRADITIONALISM AND THE AVANT-GARDE The culture at the turn of the twentieth and twenty-first centuries is characterised by a change in aesthetic codes and paradigms. The postmodernist project, with its irony and deconstructionism, is replaced by a nostalgia for the genuine, an ideal, and an interest in realistic forms of writing. Contemporary Russian literature questions the status of traditionalism, of the evolutionary possibilities of tradition, and of the prospects for succession corresponding to aesthetics. Traditionalism and the avant-garde exist in the history of culture, following the principle of complementarity, as mimetic and heuristic types of creative work. The origins of traditionalism are based in mythology; it is anthropocentric and stable, focused on the canonised forms of culture and the assertion of eternal meanings. Conversely, the avant-garde fights with tradition as with an inert and undeveloped dogma (Bausinger 1992: 9–19). The struggle between cosmos and chaos is the eternal plot of art. Vladimir Paperny describes their confrontation in twentieth-century culture as a 316 cyclic change of egalitarian-entropic and imperial culture (Paperny 1996), each with its own system of characteristics (Plekhanova 2014: 44–60). The beginning of the century is characterised by a revolutionary breakthrough towards a change in the world order, changes to the language, a search for new forms of art, and a disregard for the living individual. By the 1930s, this will become a longing for stability, the world-order pathos of art, the adoption of regulations and canons (socialist realism), the rehabilitation of misinterpreted family values, and an interest in corporeality and the “quiet joys” of existence (Goldstein 1997: 153–175). At the aesthetic level, traditionalism is understood as the “aesthetics of identity”, oriented towards the traditional and repetitive: to topos or “common places” and prefigured forms, which is the predominant canon here (Tamarchenko 2004: 118). As a principle of creativity, traditionalism is a set of value-based symbols and recognisable patterns of behaviour, as well as a defense of higher truths and their affirmation in the form of a linear narrative. However, mythological origins, religious revelations and metaphysical secrets are often hidden behind the realistic worldview. As a rule, the author’s position is distinguished by monologism, originating from the perception of a moral code that must be followed. The origins of modern literary traditionalism are usually traced through Aleksandr Solzhenitsyn’s epic tales and the early texts of Vasily Belov. These texts revived interest in N. Kovtun, N. Klimovich, The Traditionalist Discourse of Contemporary Russian Literature: ... (315–337) “Umjetnost riječi” LXII (2018) • 3–4 • Zagreb • October – December the narrative form that gave rise to “village prose”, which became popular during the “long 70s” (Kovtun 2016: 8). Depending on the ideological environment, traditionalist authors are seen either as representatives of an obsolete stagnant morality, or defenders of the lost “way” of the people, advocating for a return to the origins of national culture, the world of nature and the precepts of their ancestors. In the late 1950s they represented a frontier style whose popularity grew proportionally to the disappointment in the utopian socialist realism project. “The long 70s” were a time of recognition. According to modern research, “The era of socio-political stagnation was, in this sense, an era of deep concern about origins” (Averyanov 2000, trans. ours). Valentin Rasputin is convinced that “village prose” as it is now … could not but appear and say its word of sorrow in the 1970s. Perhaps, these were not writers who created this prose, but literature, as a living and sensitive process created the writers for this prose by its will … capable of precisely finding nerve endings on that huge body that we call “the people” (Rasputin 2007: 481–482, trans. ours). The values of “peasant” Russia had to be rediscovered by its own 317 people, preserving the archetypes of peasant culture in novels and stories, and in the principles of aesthetics that determined the retrospective nature of their literary work. Western Russian studies are of the opinion that “village prose” protects the country’s cultural prestige. The basis of the “neo-pochvennichestvo” program (Kovtun 2017a: 22) is formed by a moral and religious search that is in discord with the idea of a speculative and techno-aesthetic future, cultivated by a part of the Russian avant-garde. This pathos fits the official rhetoric of the authorities, which rejected the strategy of modernisation and the building of communism, and in turn motivated the transition to conservatism in the “long 70s” (Razuvalova 2012: 178–204). The nature of this convergence is formal, limited by a situational interest in certain values (relating to people, tradition, national classics, and cultural origins), although there are noticeable differences in its interpretation and functional use. This was already apparent during the period of perestroika, and when the authorities changed their rhetoric and tactics once again, the representatives of traditionalism found themselves in stiff opposition to the liberal-cosmopolitan forces that have acted as the country’s “saviour” since the 1990s. Traditionalism was equated with conservatism, and was practically excluded from university programs and school textbooks (Razuvalova 2015: 419–427). N. Kovtun, N. Klimovich, The Traditionalist Discourse of Contemporary Russian Literature: ... (315–337) “Umjetnost riječi” LXII (2018) • 3–4 • Zagreb • October – December The traditionalists’ literary project aims to restore the unity of the nation, the integrity of national self-awareness, cultural memory, and the concepts of the Orthodox faith. Its supertask is to transform the peripheral into the central: to legitimise peasant culture as playing a determining role in the fate of Russia, and to preserve the memory of the “peasant civilisation”. The literary work and personal behaviour of the literary prophets model the transition to the world of tradition; texts by “village prose” authors are a hermeneutic experiment to actualise ancient meanings (hence the interest in the Russian Middle Ages and the Old Believers’ mythology) in a culture of the momentary. In this context, “neo-pochvennichestvo” literature defends the prophetic functions of the life-order. The traditionalist classics are labelled the prose of “social modeling” (Tatyana Rybal’chenko), and the literature of national identity (Irina Plekhanova), in a distinctive intonation. Aleksandr Solzhenitsyn compares literature functionally to the church: “Such revelations, that rational thinking sometimes cannot develop, are sent us vaguely and shortly through art” (Solzhenitsyn 1991: 43, trans. ours). Viktor Astafyev (Astafyev 1997: 308), Valentin Rasputin and Mikhail Tarkovsky have the idea of the sacrilisation of literary work in common. 318 The word of the literary prophets is monologic and didactic, correlating poorly with modernity, which has learned from postmodernism: it aims for dialogue and co-creation between the author and the reader, with the
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